Musical numbers are a lot like action sequences: you’re trying to convey how it’s going to feel in the final movie, not beat out every little moment.
Craig and John plug a book by their very first sponsor and discuss elective brain surgery, before tackling an exhaustive but illuminating list of questions from listener Daniel Barkeley.
Comparing Archer’s actual script to my transcript-y approximation shows a little bit more about how Adam Reed’s show works.
Archer does a strange thing I haven’t seen in many shows: the final line of a scene often serves as the first line of the next scene.
Screenwriter and TV scribe Christine Boylan talks through her work habits and tools.
In the spirit of the season, let us say thanks to Wikipedia for this comprehensive list of fictional diseases.
Jamie Jensen recently wrote and co-directed her first feature with Nadia Munla. I asked her to talk about her experience taking a project from graduate school thesis script to finished film. In 2007, I moved from New York City to Los Angeles to pursue a screenwriting career. I did it by way of the Peter […]
A new browser extension points out an interesting and esoteric problem in English: “her” functions as both an objective pronounce and a possessive one.
Following up on last week’s podcast about the economics of the film industry, more details on the business from the exhibitor’s perspective.
When you read articles claiming every Hollywood movie loses money, an obvious question arises: “Why do they keep making them, then?” In this installment, John and Craig explain how the film industry spends and makes money.
At the end of any day in which I’ve had to keep up in French, I’m zombie-tired. Research Daniel Kahneman has the explanation.
Witney Seibold has an extremely useful explanation of what a projectionist does, and why filmmakers should care.
Craig and John go through the mailbox to answer listener questions. Can great actors save bad writing? What happens when writing partners split up? Are flashbacks always a bad idea? Should a young British comedy writer move to America?
We’re launching Screenwriting.io to answer basic questions about screenwriting.
Procedural-plus shows are simply more difficult to pull off, both at the whiteboard stage and in the finished episode. Once you’ve established the stakes of the A-plot — a killer is on the loose! — any scene that doesn’t address that feels like filler. So writers need to find ways to weave character moments into plot scenes, which can be difficult.
John and Craig discuss why screenwriters want to please people — and how it often hurts them and the movie they’re writing — before a lengthy discussion of the pros and cons of going to film school.
So, hey, you’re pregnant. And it’s not welcome news, because you’re in college and hope to go to medical school. But before you marry scruffy-cute ukelele guy, maybe think about adoption.
The three major manufactures of motion picture cameras have stopped making new film cameras.
Eriq Gardner looks at lawsuits filed by producers of an upcoming Emma Thompson film trying to establish her screenplay doesn’t infringe on existing works.
John and Craig discuss the new fall shows and how little kids become screenwriters, with discussion of D&D, Malcolm Gladwell and daisy-wheel printers.
Peter Aspden remembers when TV wasn’t art, and certainly wasn’t something to talk about seriously. He argues that cable dramas — in particular, those on HBO — changed everything.
In episode four of Scriptnotes, Craig and I discuss migraines and zombie apocalypse preparations before we segue to the main topic: how screenwriters work with directors, from the first meeting to on-set etiquette to giving notes in post.
This week in the podcast, Craig and I follow up on our earlier comment about kids being the death of screenwriters, then dive into the process of outlining a script, from index cards to whiteboards to spreadsheets. Along the way, we discuss Curious George, Torchwood and V.
Wait, how did I not know the Manic Pixie Dream Girl existed as a trope?
NY Times has a nice piece on Aline Brosh McKenna, screenwriter of “the BlackBerry 3.”